Like all good (just about) millennials, my Instagram algorithm knows me better than anyone else.
Who and what do I spend my scroll time with? Dogs, mainly. Celebs in the ’90s, holiday cabins that are all floor-to-ceiling glass and breathtaking views and eyewatering prices. More dogs.
But over the past few months, something else has crept in: bare faces with swatches of different coloured fabric draped across their chests like rainbow napkins, their features brightening or dulling as the bibs are changed with a flourish by a stylist.
Image: Celebrities in their colour seasons (clockwise from top left): Kim Kardashian, winter; Beyonce, autumn; Taylor Swift, spring; Rihanna, summer. Pics: AP
Pictures of celebrities with rainbow borders framing their faces fill my feed, sometimes with before and digitally altered “after” images side-by-side, showing how different our favourite stars might look with, say, a slightly warmer blonde tone to their hair, or in a silver dress rather than gold.
Welcome to the world of colour analysis – the science, the stylists say, behind the clothes that make you look good.
Like Avon parties, shoulder pads and blancmange, knowing your colour season was de rigueur in the 1980s, before the 1990s ushered in a more laidback approach, followed by instructions on What Not To Wear and How To Look Good Naked, focusing on body shape, in the noughties.
But colour styling is back.
Image: Kim Kardashian is apparently a winter, which means she looks best in cool tones – and suits silver more than gold. Pic: RW/MediaPunch /IPX
In the past year or so, the trend has exploded on social media thanks to demand from millennials and Gen Zs who have discovered the power of knowing your season – search for #colouranalysis or #coloranalysis and you’ll find around 300,000 posts on Instagram alone, with similar numbers on TikTok.
Colour stylists say that not only is it a fun way to look at fashion, it’s also sustainable and a cost-saver – the idea being that if you know your colours, you’re not going to waste money on items that don’t optimise your looks.
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What is colour styling?
Image: Stylist Francesca Cairns says her followers have massively increased due to the rising popularity of colour analysis. Pic: @imageconsultantmaidenhead/ @styledbyfrancescacairns
The idea is that every single person’s features can be classified into a set of shades associated with spring, summer, autumn or winter – broken down further into 12 sub-seasons such as “true spring” or “bright winter” – and from this palette you can take guidance on the colours that suit you best, not just for clothing but also for make-up and hair.
Winters look great in jewel tones such as emerald green, or neon brights, while autumns suit the colours you associate with the season – mustard, cinnamon, dark moss green. Springs are warm, bright and clear, summers more soft and subtle. But your season is not just about how you look on the outside, and some might surprise you.
Watching the switching of colour drapes, or scrolling through the digital equivalent, can feel like a magic trick; a glow-up without a hint of highlighter or hair dye. Stylists assure this is #nofilter and there is no digital trickery going on here; the wrong colours will wash you out, but the right colour on the right person could well make your eye bags and wrinkles all but melt away.
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Having watched this content from various colour stylists over the past few months, I have learned a lot about seasons, palettes and contrast, and undertone v overtone, warm v cool, clear v muted. I have learned that you might share the same eye, skin and natural hair colour as someone else and still be in a different season. That your colour season is not about skin colour or even tone.
And that, apparently, despite black being a go-to or a comfort blanket for many, it’s only – brace yourselves – those in the winter palette who truly suit it.
So now, in the interest of journalism, I’m finding out for myself.
Anyone who knows me will know my wardrobe is on the brighter side. I think I’m a spring. I hope I’m a spring. Am I a spring?
Image: Beyonce’s recent platinum look is a shift from the autumn season. Pic: AP/Chris Pizzello
Have I been wearing the ‘wrong’ colours all my life?
I have my colours done by Francesca Cairns, a UK stylist of 10 years who says she has seen her Instagram following grow from about 10,000 to 500,000 across two accounts in the past 12 months or so, all thanks to colour analysis.
“It’s boomed, especially in the last year,” she says. “Gen Z want to learn about what works for them so they can create wardrobes that are sustainable. People are obsessed with it, it’s everywhere.”
Francesca works online, with clients internationally as well as in the UK, so needs photos. No make-up, natural lighting, standing in front of a window. I take about a million selfies before I find a couple that are vaguely passable and send them over, along with older pictures of myself over the years and some information: natural hair colour, (dark blonde/ mousey), eye colour (grey-green, a bit non-descript), how easily I tan (not bad) and my jewellery preference (silver; but, if I’m honest, this could well be a legacy from my frugal youth).
Image: Am I a spring? Or maybe autumn (below)? Pics: @imageconsultantmaidenhead/ @styledbyfrancescacairns
Rather than draping with material in person, she surrounds your face with colour digitally, the style equivalent of Tinder, swiping yes on the shades that work, relegating the ones that don’t, to see a pattern.
It’s mainly about undertone – not skin colour (overtone), she says. The tricky thing? You can’t necessarily see it.
“When I look at someone, I’m putting silver and gold next to them, or very warm versus cool colours,” Francesca says. “I’m seeing which looks best next to their features, which one’s not overpowering them.”
The aim of wearing your best colours is to see your face first, before everything else, she says. The right colour will enhance your features, bring out your eyes. “You don’t want a dress to wear you,” Francesca says. “When you walk into a room, you want people to see your face and your features before your outfit. You want it to all be in harmony rather than overpowering you.”
Her process usually takes 48 hours, but Francesca has my results over to me the next day.
I am, it seems, not a spring.
Image: Francesca believes the summer season suits me best – and says winter (below) is too high contrast. Pic: @imageconsultantmaidenhead/ @styledbyfrancescacairns
According to Francesca’s workings, I am a soft summer, just like Rihanna, Sarah Jessica Parker and Rachel McAdams. I have a neutral undertone which leans cool, she tells me, with muted and soft colouring, subtle rather than high contrast. Baby blue, pine green, lavender, sage and taupe are on the list of recommended clothing colours, while ash brown and cool blonde are suggested for my hair (not too far off, but my highlights are probably on the warmer side).
I do own a fair bit of light blue denim, which is good, but I’m looking at all the bright greens, oranges and pinks in my wardrobe. This isn’t about my favourites, though, it’s about the ones that harmonise with my features best.
“It’s colour science,” Francesca says. “If someone’s got a warm undertone, nine out of 10 times they’re probably going to be in the spring or autumn seasons because they look better with a lot of warm tones most of the time. But if you’re neutral, you can border both the seasons.” As I’m neutral, she says some of the spring colours would work – but winter is too high contrast and cool-toned.
Someone with a high contrast – pale skin, dark hair, bright eyes, for example – can pull off high contrast colours such as cobalt blue and fuchsia pink. “But they might overpower someone who’s got softer features,” she says.
Image: In good company: Rachel McAdams is also a soft summer, according to Francesca. Pic: Jordan Strauss/Invision/AP
Celebs in – and out – of season
It’s important to note that colour analysts don’t always agree. Some put Margot Robbie as a summer, for example, while others, including Francesca, say she’s a spring. Some say you have to do the analysis in person to be certain, while others say photos taken in the right conditions are enough.
I take an online colour quiz for a second opinion and it puts me as a spring, but this is without photographic evidence; I can’t help but think the result is probably something to do with the questions being mainly about the colours I’m drawn to and how I see myself.
Image: Taylor Swift moved away from her season in 2016. Pic: Evan Agostini/Invision/AP
Francesca is confident in my summer analysis, but says I can lean into the spring palette. And this isn’t about throwing away an entire wardrobe, but potentially making tweaks.
“Colour analysis isn’t about restriction,” she says. “I’m an autumn. People ask me all the time if I still wear black? Yes, because 90% of my wardrobe before I did this was black. I’ll always wear black, but I’ll make it work for me better by wearing my make-up in my colours, or accessories round my face, wear black lower down or with a lower neckline.
“If you love a colour that’s not in your season it doesn’t mean you can’t wear it, it just means that you wear your colours with it or make it work for you in a different way. And when I post celebrities against different [background] colours, it can be quite subjective.”
Because being groomed and beautiful means stars often look good against all sorts of different shades.
“People might prefer them in a different [colour to their season] and that’s their opinion. But when it comes down to the trained eye and you know what you’re looking for, you see straight away why one palette works better than another.”
But wearing colours out of your season can pack a punch – think Taylor Swift‘s platinum white hair and dark lipstick look during the height of the Kim and Kanye feud in 2016, or Beyonce‘s current platinum look for the release of Cowboy Carter. Swift is a spring, apparently, while Beyonce is autumn.
“But I’m always training my eye, even now after years,” says Francesca. “You’ll always find that someone’s colours will always surprise you. And there’s no rule book – it’s all about having fun.”
Prunella Scales, best known for her role as Sybil in Fawlty Towers, has died aged 93, her family has said.
Prunella Scales was watching the sitcom the day before she died, her sons Samuel and Joseph West said.
They said in a statement to the PA news agency: “Our darling mother Prunella Scales died peacefully at home in London yesterday.”
Her seven-decade acting career saw her in multiple roles from the 1950s, including in 1960s sitcom Marriage Lines, before featuring as the wife of John Cleese’s character Basil Fawlty, in two series of Fawlty Towers in 1975 and 1979.
Image: Prunella Scales, pictured in 2017, has died at the age of 93. File pic: PA
The family statement added: “She was 93. Although dementia forced her retirement from a remarkable acting career of nearly 70 years, she continued to live at home. She was watching Fawlty Towers the day before she died.
“Pru was married to Timothy West for 61 years. He died in November 2024.
“She is survived by two sons and one stepdaughter, seven grandchildren and four great-grandchildren.
“We would like to thank all those who gave Pru such wonderful care at the end of her life: her last days were comfortable, contented and surrounded by love.”
Image: Prunella Scales was married to fellow actor Timothy West for 61 years before his death in November 2024. Pic: Geoff Pugh/Shutterstock
Prunella Scales was one of the most successful and popular comedy actresses of her generation – achieving worldwide fame and recognition as Sybil, the long-suffering wife of Basil Fawlty in the sitcom Fawlty Towers.
Her performances, alongside John Cleese, are often regarded as arguably some of TV’s funniest comedy moments ever.
The sitcom, set in a hotel in the seaside resort of Torquay, continues to be broadcast. It was developed into a theatre production that moved to London’s West End in 2024.
Image: Prunella Scales (left), pictured here in 1979 as Sybil, alongside John Cleese (back centre) who played Basil Fawlty. Pic: Eugene Adebari/Shutterstock
But although she was regularly cast in comic roles, alongside comedy giants like Richard Briers and Ronnie Barker, her abilities ranged far more widely than that.
‘National treasure’ and ‘British icon’
Jon Petrie, director of comedy at the BBC which broadcast Fawlty Towers, described her as a “national treasure whose brilliance as Sybil Fawlty lit up screens and still makes us laugh today”.
Meanwhile, Corinne Mills, for Alzheimer’s Society, called her a “a true British icon” and praised her for “shining an important light on the UK’s biggest killer”.
Seven-decade acting career
Prunella Margaret Rumney Illingworth, who was born on 22 June 1932, had a seven-decade acting career.
Her career break came with the early 1960s sitcom Marriage Lines, starring opposite Richard Briers. Scales also played Queen Elizabeth II in the British film A Question Of Attribution, and in 1973, Scales teamed up with Ronnie Barker in the series called Seven Of One.
In 2006, she appeared alongside Academy Award winners Vanessa Redgrave and Maximilian Schell in the mini-series The Shell Seekers.
Scales married West in 1963, and had two sons; the elder being the actor and director Samuel West, and a stepdaughter, Juliet.
Image: Prunella Scales, seen with husband Timothy West in 2024, was living with dementia. Pic: PA
Dementia caused her ‘gradual disappearance’
In January 2013, she revealed her short-term memory was fading and a year later her husband confirmed that Scales was living with dementia.
West told Piers Morgan’s Life Stories: “The sad thing is that you just watch the gradual disappearance of the person that you knew and loved and were very close to.
“When we’ve been to a concert, or a play, or a film, there’s nothing very much we can say about it afterwards because Pru will have a fairly hazy memory.”
The couple appeared together in 10 series of the TV series Great Canal Journeys until Scales’ dementia reportedly progressed to the point where they had to stop in 2020.
The pair appeared in several more specials, where they looked back at their travels.
This breaking news story is being updated and more details will be published shortly.
Steve Coogan says he is “proud” of his film about the discovery of Richard III’s remains after he and two production companies agreed to pay “substantial damages” to a university academic.
The Alan Partridge star, his firm Baby Cow, and Pathe Productions have settled a libel claim over how Richard Taylor was portrayed in the 2022 movie The Lost King after he sued them.
Coogan, who co-wrote the screenplay and also starred in the film, said The Lost King was “the story I wanted to tell, and I am happy I did” following the settlement in the High Court on Monday.
The movie tells of how Philippa Langley led the search for the king’s skeleton.
Image: Richard Taylor outside the High Court. Pic: PA
The lost remains of the Plantagenet monarch, who ruled England between June 1483 and August 1485, were discovered in a Leicester car park in August 2012, more than 500 years after his death.
In June last year, Judge Jaron Lewis ruled that the film portrayed Mr Taylor, who was deputy registrar at the University of Leicester at the time of the discovery, as “knowingly misrepresented facts [about the find] to the media and the public”.
Mr Taylor was also shown to be “smug, unduly dismissive and patronising”, which had a defamatory meaning, the judge said.
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The case was due to proceed to trial, but lawyers for Mr Taylor, who is now chief operating officer at Loughborough University, told a hearing at the High Court on Monday that the parties had settled the claim.
Image: Richard III reigned from 1483 to 1485. Pic: PA
Depiction caused serious harm – lawyer
His barrister, William Bennett KC, said Mr Taylor felt “the depiction of him in this untrue way in the film caused serious harm to his professional and personal reputations and caused enormous distress and embarrassment to him”.
“The defendants have now settled Mr Taylor’s claim in the libel against them for the publication of the film by paying him substantial damages.
“Furthermore, they have agreed to make changes to the film in order to withdraw the allegations complained of and to pay him his legal costs.”
The University of Leicester played a “crucial role in providing funds and academic expertise” for the project to find the remains, with Mr Taylor the “key co-ordinator of the university’s involvement”, Mr Bennett said.
Image: A statue of Richard III outside Leicester Cathedral. Pic: Shropshire Matt/PA
On-screen clarification to be added to start of film
Coogan, and the production companies were not represented and did not attend but in a joint statement following the hearing, they said they were “incredibly proud of this film and are pleased this matter has now been settled”.
An on-screen clarification will be added to the start of the film, saying the portrayal of Mr Taylor in the film is “fictional and does not represent the actions of the real Mr Taylor”, who “acted with integrity during the events portrayed”.
In a separate statement, Coogan said Philippa Langley “instigated the search for Richard III. Philippa Langley insisted on the dig in the northern area of the social services car park where the remains were found. Philippa Langley raised the majority of the money for his exhumation”.
“If it wasn’t for Philippa Langley, Richard III would still be lying under a car park in Leicester. It is her name that will be remembered in relation to the discovery of the lost king, long after Richard Taylor has faded into obscurity.
“The only changes to the film will be a front card, which will follow the existing card, which says that this film is a true story, Philippa Langley’s story. That is the story I wanted to tell, and I am happy I did.”
Mr Taylor said that he felt “cross” and “completely helpless” when the film was released, but the outcome represented “success and vindication” after “a long and gruelling battle”.
He said: “There have been moments over the last three years when I thought, when Philippa Langley approached me for the university’s support, I perhaps should have put the request in the bin, but I didn’t, and I think I was right not to do that.”
June Lockhart, who starred in television shows such as Lassie and Lost In Space, has died at the age of 100.
The US actress died of natural causes at her home in Santa Monica, California, on Thursday, according to family spokesman Lyle Gregory.
He said: “She was very happy up until the very end, reading the New York Times and LA Times every day.
“It was very important to her to stay focused on the news of the day.”
Image: (L) June Lockhart, Lassie, and Jon Provost in 1963. Pic: Everett/Shutterstock
For more than 200 episodes between 1958 and 1964, she played the role of Ruth Martin, who raised the orphaned Timmy (Jon Provost) in Lassie – a show about the adventures of a brave and intelligent Rough Collie dog.
And from 1965 to 1968 spanning over 80 episodes, Lockhart was Maureen Robinson, a mother who was part of a marooned family that travelled on the spaceship Jupiter II in Lost In Space.
She was nominated for two Emmys, including best actress in a leading role in a dramatic series for her performance in Lassie in 1959.
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She also received two stars on the Hollywood Walk of Fame, one for motion picture and one for television.
Born in New York City in 1925, she was the daughter of actor Gene Lockhart and actress Kathleen Lockhart.
Image: June Lockhart (second left) with her Lost In Space co-stars. Pic: Moviestore/Shutterstock
Feature film debut
She made her feature film debut aged 13, starring alongside both of her parents in the 1938 production A Christmas Carol, where she played Belinda Cratchit, the daughter of Bob Cratchit.
After her breakout role, she appeared in films such as All This, and Heaven Too, Meet Me in St. Louis, The Yearling, and Sergeant York.
She was also in Son Of Lassie, the 1945 sequel to Lassie, Come Home, playing the grown-up version of the role created by Elizabeth Taylor.
Over almost eight decades on screen, Lockhart appeared in dozens of TV series and movies, including when she was well in her 80s.
Other roles
She had recurring roles on Petticoat Junction, General Hospital, and Beverly Hills 90210, and guest appearances on shows including The Beverly Hillbillies, The Colbys, Knots Landing and Happy Days, as well as Full House, Roseanne and Grey’s Anatomy.
Of her time on Lassie, Lockhart spoke frankly about her canine co-star.
She said: “I worked with four Lassies. There was only one main Lassie at a time. Then there was a dog that did the running, a dog that did the fighting, and a dog that was a stand-in, because only humans can work 14 hours a day without needing a nap.
“Lassie was not especially friendly with anybody. Lassie was wholly concentrated on the trainers.”
Even though she sometimes mocked the show, she conceded: “How wonderful that in a career there is one role for which you are known. Many actors work all their lives and never have one part that is really theirs.”
In Lost In Space, Lockhart was part of a family that left Earth on a five-year flight to a faraway planet.
After their mission was sabotaged by fellow passenger Dr Zachary Smith, the group went from planet to planet, encountering strange creatures and near-disasters where viewers needed to watch the following week to learn of the escape.
Speaking fondly about working on Lost in Space, Lockhart said: “It was like going to work at Disneyland every day.”
She was married and divorced twice: to John Maloney, a physician, father of her daughters Anne Kathleen and June Elizabeth; and architect John C Lindsay.